Dreaming time ~ Studio set up for macro.

[JBW]

Hi the givens are that I really enjoy macro, I use a Sony Alpha a58 with a Tamron 90mm 272E, in a few months we will be creating a solarium for tropical plants.

This seems to me time to start dreaming of focus rails, reflectors, lighting, smart extension tubes, bellows? All of course in good quality Goldilocks range.

Suggestions please and thank you.

[Shadowman]

Pretty ambitious undertaking, I would consider the room you'll be working in, how this ambient light will affect your subject, and what exactly you feel is needed to get the shot. I'd recommend the focusing rail, some photographers can do without. but for precise positioning of my gear it is a necessity. I have some of the other items, not the bellows but have yet to really utilize. Another option you might want to consider are close-up filters.

https://www.amazon.com/Cowboystudio-...2&sr=8-2-spell

[Dave Humphries]

Hi Brian,

As you know; I have a 105mm macro lens (not so different from your 90mm) and I have a focus rail, but have rarely used it for bug macros because (usually) being live, they tend to move, so I shoot handheld. However, if I am shooting on a tripod, at say, macro sized products, then yes, I use it and it is handy. I have a two axis one that goes fore/aft (to focus) and also left/right (for framing), plus I use small extension of the tripod centre column for framing up/down. I haven't tried focus stacking yet, I just shoot at the best aperture I can (f/11 - f/22) for improving DoF.


I recently bought, but have yet to use, a set of extension tubes containing the electrical contacts to connect lens to camera (which is, I assume, what you mean by 'smart').
Background information; I got these, not so much for use with the macro lens, but as a means to reduce the minimum focus distance of my 70-300mm zoom, the reason being that when shooting large insects (e.g. dragonfly), I can either use the 300mm at its minimum distance of 1.5m (5') or swap to the 100mm macro, but this requires me to get 3 times closer (0.5m), just to maintain the same framing (magnification), being 1/3 the focal length.
The problem being that many insects might tolerate 1m, but 0.5m causes them to fly/crawl off, if I shoot from 1m with the 105mm, I am not filling the frame as well as I can with the 300mm at 1.5m Hence my desire (untested as yet) to see if I can use the 300mm significantly closer than 1.5m.
Obviously, if the subject stays put as I approach, ultimately I'll get far more magnification with the macro lens than I will with the 300mm and tubes.
Of course, now I have a set, I also have to possibility of using them with the macro lens, to get somewhat greater magnification than 1:1, which is my current limit.

Back in my film shooting days, I did have some bellows and found them useful as I recall, this was back when all (my) lenses were 'manual only' anyway, so it didn't matter about losing the 'smarts'. I don't envisage going this route now though, I believe smart bellows are very expensive (probably made of unobtainium, that rare alloy).


I tried mounting a 'large' flash on camera and extending the light forwards as some other members here have shown their rigs, but I found this just made the camera+flash rig so heavy and unwieldy as to be very difficult to hold steady for more than a few minutes of shooting.
It was also very unstable - various brackets, ball heads and hot/cold shoe mounts, all 'secured' (laughably) by a tripod bushes, with their very coarse thread, frequently one or more came lose and bits swung round as I leant over to get a shot or rotated vertical to frame portrait orientation Once was enough!

So, with regard to lighting, I'll describe how I am currently working - I was shooting bees in my garden the other day; I had one flash set up on a light stand* off to one side, fairly close to some blooms that were attracting a lot of passing (bee) trade, I was shooting hand held, using a hot-shoe mounted radio (RF) trigger to avoid issues with cables and foliage getting tangled, or misfiring due to ambient light if I tried to optically trigger. This allowed me the freedom to shoot when they landed (or flew) in the vicinity of several potential target blooms, because the flash was fitted with a small softbox (about 20 x 13cm), which at that close range is quite large relative to the subject and gives a nice soft light which wraps around the subjects, not causing hard shadows and also better for their jet black compound eyes.

* so far, my only mounting option is with the flash at the top of the light stand, directly above the feet and they need to be on level ground, or stuff put under one leg, to make it so. Therefore ideally, I'd mount the flash on a small boom, so it can 'reach' further 'in' to the flower beds/foliage to be closer to the subjects (I can lean forward to snap the action).


I do have a small reflector (30cm/ 1' foot), but I have not yet tried it because I suspect we get less sun in UK than you do. So it's when overcast, I need to add light anyway (to use lower iso and narrower aperture for DoF), but since I am trying to apply all the skills I am learning for (human) portraiture (in miniature) to shooting bugs, I certainly may try a reflector when the occasion suits.


When I see the images that say Geoff F, Rudi, DanK, Grahame and others here produce, I'm still finding my way, but it is fun.
The next thing I want to try (now I have two flash heads), is to place the second one behind the subjects to 'separate' them better from the foliage with a bit of rim/hair light.

HTH, Dave

PS
I use the Nikon version of this system Godox TT685, which is now available for Sony
Just check it is compatible with your specific model; I now have 2 off TT685 and the X1T transmitter.

[Geoff F]

As you know, Brian, I shoot macro with a 180 mm lens because when doing survey recording in the field I want an identifiable image of every insect which often means working at 2 or 3 feet distance to avoid scaring the subjects. And mostly with a simple external flash directly mounted on the camera. A quick locking ball head on the tripod is a great asset when time is limited before my target moves away.

But for studio work I have a couple of lamps and usually work without flash in that case. Just a couple of basic desktop type lamp holders with daylight quality bulbs will be sufficient. The subjects will be settled, either chilled moths on a bit of bark or sedated other insects on leaves etc. And other items like fungi etc rarely move anyway.

With some larger moths I am having to back off a little to fit them into the frame, but that isn't a problem except for me sometimes having to stand on tiptoes!

Smaller subjects respond well to a 25 mm extension tube which gets me a little closer. A 1.4x converter is another option and in reality there isn't that much difference in the results I get from either option.

Sometimes I use a small reflector in the background.

I have never bothered with a focusing rail as I find it easy to simply move my tripod, or my model which is in a shallow tray that can be rotated and tipped for the best angle. Taking two or three shots for stacking works by just manually changing the focus point. But I can see that a rail would be useful for a greater number of stackable images where fine control could be handy.

When I'm next using this system I will take a photo of the arrangement.

[rpcrowe]

There is a plethora of different types focusing rails at varying prices both on eBay and Amazon. The primary attribute for a focusing rail (IMO) is that it should afford a solid mount when the camera/lens is in place.

I use an oldie-but-goodie, Minolta brand focusing rail that I have had since Noah was a cabin boy...



This is a basic two way (forward and aft) rail. The advantage of this model is that when it locks in place it is totally solid.

There is another piece of equipment that can be used in lieu of a 2-way focusing rail and which can do a fine job. It is the use of an Arca Compatible tripod clamp along with a long mounting rail...



Loosen the clamp and you can slide the mounting rail back and forth...

There are other focusing rails that have 4-way movement (usually fore and aft along with up and down). I have not used any of these rails so I cannot provide any recommendations...

I can use a Canon 1.4x Teleconverter along with my 90mm Tamron macro lens. However, i need to place an extension tube between the converter and the lens to protect the rear element of the lens and front element of the T/C which would touch without the extension tube. The 1.4x TC will give me a focal length of 126mm while the extension tube will allow me to focus quite a bit closer. I don't have an example handy but, this will provide greater than a 1:1 ratio.

As far as macro lighting goes, try a google search with macro photography lighting as your search parameters.

For outdoor use, I will use this flash bracket with a mini softbox.



This image illustrates my Siegelite articulating flash bracket with Canon 550EX flash (you can use any hotshoe flash with a rig like this) modified with Lumiquest mini softbox. This bracket is no longer produced however, it is often available used on eBay (most often for less than $20 USD). The flash is connected to the camera with a Canon Off Camera Sync Cord. Both the cord and softbox are available as Chinese knock-offs from eBay at a very low price. This setup is shown on a tripod for illustration purposes but, I most often use it hand-held in order to follow the little creepy-crawlies which I photograph.



Background material is another thing to look at. Just about anything an be used. This was shot with a dark colored velvet as background. Different color poster board can also work. White, black and gray are three handy colors.



The fishing fly is held in place on a fly tying vise.

Either flash or continuous lights will work for indoor photography and a/c power is just fine. For outdoor work, I like a battery operated light source.

A twin flash bracket like this

http://www.ebay.com/itm/Black-2in1-O...8AAOSwc1FXa5gG

Combined with two or three small inexpensive flash units can give great lighting.

I tried one of these "RING LIGHTS" which is not a flash but rather an LED which lights up when you press the shutter.

http://www.ebay.com/itm/Neewer-48-LE...cAAOSwNsdXSGcb

I paid ten dollars or so for the unit which has never worked. I have given up trying.

There are many accessories from day-to-day life that can be converter to micro photo use. Modeling clay can hold a subject in a specific position, helping hand clamps can also hold a subject...

http://www.homedepot.com/p/TEKTON-He...A&gclsrc=aw.ds

[Geoff F]

This is my 'studio' set up, Brian.

The bigger unit on the left has three 100 watt equivalent daylight quality bulbs but two very basic desk lamps with 100 w or equivalent would be sufficient.



I normally use Iso 400 for these shots which should be acceptable. If the shutter speed drops a little slow I use cable release.

[rpcrowe]

A light tent is another handy accessory - this one is at quite a low price.

http://www.ebay.com/itm/20-50x50cm-P...MAAOSwqBJXV3YG

You can use this with just about any type of light source: flash, incandescent, LED, etc.

It helps provide shadowless lighting... This unit has several backgrounds - all for about ten bucks including shipping!

[JBW]

Thanks one and all for your time and thoughts.

The solarium was my wifes office and can be thought of as a gazebo with good morning light. It needs new roofing which will be translucent.
I will start with the basics, a few lamps, a work space large enough for tethered shooting and a coffee pot.

I'm not at all sure where this is heading. I can't see me working with dead insects but in a solarium there should be lots of challenges for finer detail and more beauty.

[Geoff F]

There are a few alternatives to actually killing insects before photographing them, Brian.

Some respond to chilling, such as the larger moths. Smaller specimens can be sedated by a short time in a small jar with just a little ethyl acetate. But you need to get the timing right so they are merely sedated not killed. Then work quickly with the photography before they recover and fly away.

Much the same manner as Soviet agents used to blackmail people into becoming spies.

[JBW]

There are a few alternatives to actually killing insects before photographing them, Brian.

Some respond to chilling, such as the larger moths. Smaller specimens can be sedated by a short time in a small jar with just a little ethyl acetate. But you need to get the timing right so they are merely sedated not killed. Then work quickly with the photography before they recover and fly away.

Much the same manner as Soviet agents used to blackmail people into becoming spies.

I have hunted, fished and grown stock for the pot. But somehow I can't imagine myself drugging or torturing an insect to get a shot. I don't even like to bend a leaf to get a shot.

[DanK]

Brian,

I don't do studio shots of bugs, but I do a lot of studio macro of flowers. So here is my two cents.

I will start with the basics, a few lamps,

That would be exactly my advice. Start simple. You don't need much equipment to do studio work.

First, the tubes and bellows: if you end up deciding that 1:1 is not enough magnification, then you will need one or the other, but not both. They both do the same thing: move the lens away from the camera body. Personally, I would put this aside until you are really comfortable with 1:1 in the studio--working at minimum focusing distance with your Tamron lens.

Re the focusing rail: there is no need for one at the level of magnification at which you are working. I have worked beyond 2:1 and have never used one for focusing, or for focus stacking. I do own one now, but I only use it to make it easier to get the camera the right distance from the subject. Moving the subject or the tripod instead just takes a little more work, because you have to reframe each time.

Re tethered shooting: you don't need to do this, although some people find it handy. The one thing you will need is a remote shutter release of some kind so that you don't jiggle the camera when you trip the shutter. The cheap wired ones from Hong Kong are just fine. I bought mine in eBay.

Re lighting: that is where you have to spend your effort. There are lots of solutions, but they take practice and look different, so you will have to decide what you like. You don't need fancy equipment, although it can come in handy. Christopher Beane did some astounding flower macros with nothing but the light from an open door. My personal preference is continuous lighting because it lets me see what the photo will look like, but it does require longer shutter speeds, which means you have to be careful not to have the subject move. I use simple 50W and 75W halogen floods, which you can get in almost any hardware store. I hold them in cheap "hair lights," but as Geoff suggested, I have also used desk lights with regular incandescent bulbs.

If you decide to use continuous lighting, I would take two extra steps. First, get yourself a neutral card and take one shot with it so that you can figure out a neutral white balance. Second, the lighting usually has to be diffused. You can do that in lots of ways, several of which have been suggested. My standard is two sheets of baking parchment paper, but you have to keep it far enough from the bulb that it won't get hot. I also sometimes use an umbrella, either to reflect light or to diffuse it directly.

I'll post a picture that shows about the most complex arrangement I use.

So, I guess this boils down to this:

--start simply
--plan to spend a lot of time experimenting with different ways of lighting to find the lighting you find best.

Dan

[Cantab]

Dan, thanks for your informative post. I keep thinking of macro work but have yet to do a lot of it. The gizmo holding the flower and attached to the tripod leg caught my attention. I've seen them referenced before but can't remember what they're called. They look very useful!

[DanK]

Bruce,

It's called a "plamp" and is made by Wimberley. It works well, but the clip on the end of mine has loosened and sometimes won't stay in on position unless I jam it with a toothpick or wadded up paper.

Dan


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[JBW]

Dan that seems close to the dream